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To be fair, this very panel picked Pentacle a few years ago, which I think is a superb piece, and got a load of flak for it. It's a bit of a thankless task - slated by newer music fans every time they revert to Ball and Vinter, slated by traditionalists every time they pick something new and different (Ian Perks, j'accuse...)

I've got another suggestion - Benedict Mason. If you get chance, listen to Lighthouses of England and Wales, it's ace.

A wise man once said, "Pointing out a fallacy in someone's argument is not the same as pedantically and persistently pushing it down someone's throat whilst completely ignoring other points that are made."

The thing is with all these suggestions, someone's got to pay for a new commission. The only organisation in a position to do this for the Nationals is Kapitol, so put yourself in their shoes for a minute.

Option 1: Spend £4-6,000 commissioning a composer to write a piece for one of the sections at the Regionals.

Is option 1 going to result in more bands entering, or in any way generate additional revenue for Kapitol - it being a private company, after all is said and done? I think we all know the answer to that one.

Vaguely remember that, now you mention it. Wasn't as good as Pentacle, though!

I'm a big fan of the often suggested "rotation" system - over a three year cycle, pick a "golden oldie" (e.g. from pre-1970) or a transcription, a modern classic, a new piece or a recent commission from another band/contest. This could be applied to all 5 sections. So if you get Gems of Schubert this year at least you know there's a chance of Dances and Arias the year after.

I've got another suggestion - Benedict Mason. If you get chance, listen to Lighthouses of England and Wales, it's ace.

He has in fact written a short piece for band - Line Drawing by Candlelight. He wrote it for Grimethorpe in the 1990's (I think). I heard it many years ago, but unfortunately can't remember much about it, because (surprise) it never gets played.

Or potentially look at restructuring the format of contesting altogether to allow the bands themselves to select more adventurous works?

There is a version of this currently available, European entrant commissions something for own choice, The Open select it a couple of years later, then it finds its way to the Grand Shield. It's a shame that the format for the piece doesn't differ too much from loud/fast/daft time signature- slow/exposed- loud/fast/mostly huge ending.

Option 1: Spend £4-6,000 commissioning a composer to write a piece for one of the sections at the Regionals.

Or run a competition.

No prize money, just the privilege of having your piece used as a set work. Of course, there would be varying degrees of reward depending on who publishes a set work, and subsequent interest in the composer's other works, so there are benefits if there is no prize.

Quick straw poll of all the Sibelius composers (alright, Finale and Print Music and quill/quink brigades too) -

1. How many pieces do you have on tap that are (in your view) suitable to be used as a test piece.

2. Would you enter a competition where the only prize was your piece being used as a set work for the Regionals?

A wise man once said, "Pointing out a fallacy in someone's argument is not the same as pedantically and persistently pushing it down someone's throat whilst completely ignoring other points that are made."

A wise man once said, "Pointing out a fallacy in someone's argument is not the same as pedantically and persistently pushing it down someone's throat whilst completely ignoring other points that are made."

No prize money, just the privilege of having your piece used as a set work. Of course, there would be varying degrees of reward depending on who publishes a set work, and subsequent interest in the composer's other works, so there are benefits if there is no prize.

Quick straw poll of all the Sibelius composers (alright, Finale and Print Music and quill/quink brigades too) -

1. How many pieces do you have on tap that are (in your view) suitable to be used as a test piece.

2. Would you enter a competition where the only prize was your piece being used as a set work for the Regionals?

I'll start you with (1) three, and (2) yes.

(1) one complete and one in progress
(2) undoubtedly - though not if this precluded properly testing and rehearsing it with a band, of course.
(3) I'll let the conspiracy theorists handle that one.....

The only thing to bear in mind with this approach is that you're not likely to attract the highest level of composer with it - albeit you may well turn up some up-and-coming talent who will go on to great things.

A wise man once said, "Pointing out a fallacy in someone's argument is not the same as pedantically and persistently pushing it down someone's throat whilst completely ignoring other points that are made."